On the Bogu cabinet in the living room of the blue eucalyptus family, there is a chrysanthemum-shaped vermilion lacquer bowl.

Eucalyptus always likes to hold the reborn lacquerware in his hand and take a closer look, only to see that the texture of the vermilion lacquer bowl is light and sturdy, the color is bright and simple, and the decoration is rich and colorful.

Fuzhou lacquerware began in the Southern Song Dynasty, and is known as the "three treasures" of traditional Chinese crafts along with Beijing cloisonne and Jiangxi Jingdezhen porcelain.

These advantages and characteristics of Fuzhou reborn lacquerware are determined by its special production process and lacquer skills.

As the product of the combination of rebirth technology and lacquer art, the production of Fuzhou rebirth lacquerware is quite difficult, from the selection of materials, plastic tires, decoration to finished products, each finished product has to go through dozens or even hundreds of processes.

The process is very complex, and it takes time to make and dry, so it often takes several months to make a vessel, and the finished product needs to be sealed in the shade for a long time.

Fuzhou reborn lacquerware products are roughly divided into two categories: practical and appreciative, including large vases, large screens, various lacquer paintings, tea sets, coffee sets, stationery, tableware and other more than 300 specifications of more than 3,000 varieties.

In the pre-Qin period, lacquerware replaced bronze ware to a certain extent, and played an extremely important role in life, musical instruments, funeral utensils, weapons, etc.

In the Han Dynasty, lacquerware entered the heyday of its history, and the categories began to be enriched and refined, and the craft techniques were rich, and techniques such as tortoiseshell, inlay, and lacquer stacking began to appear.

Lacquerware, which once shined in the history of Chinese craftsmanship, is unfamiliar to most modern people, it is the culture of ancient China, but it has been forgotten and discarded in the corner by the Chinese people, and the lacquerware craft has become a marginal and endangered traditional handicraft.

So far, the arts and crafts circles in Fuzhou have taken the word "Shen Shao'an" as the authentic representative of the reborn lacquerware.

Shen Shao'an was a painter in his early years, and opened a "Shen Shao'an" old shop near Shuangzhuqiao Bridge on Yangqiao Road in Fuzhou, with paint processing as his business, and made and sold small commodities such as lacquer chopsticks, lacquer bowls, and Shenzhu wooden plaques.

At that time, Fuzhou was the capital of Fujian, and the handicraft industry was relatively developed, although the lacquerware industry was second to none in the various handicraft industries, but the competition was very fierce, and the business was not easy to do.

In addition, Fuzhou began to have lacquerware in the Southern Song Dynasty, and in the early Qing Dynasty, it also experienced a history of several hundred years, and the outdated craftsmanship affected the further development of the lacquerware industry.

Due to the light business in the store, Shen Shaoan went to the deep house of the official family or the palace temple from time to time to do painting work. Once, while working in an ancient temple, he found that the wood of the plaque at the temple gate had rotted, but the bottom blank of the lacquered summer cloth was intact.

The careful Shen Shao'an was inspired by it, and after returning home, he imitated the old plaque, first made a model out of clay, and then framed a summer cloth on the outside of the model, painted with green lacquer, and then took off the clay mold after the paint dried, and then processed and colored the paint.

The Fuzhou reborn lacquerware created by Shen Shaoan has been further improved and improved through the continuous efforts of the younger generations.

In 1920, Shen Shao'an's fifth-generation grandsons, Shen Zhenghao and Shen Zhengsui, transferred the mud gold and mud silver to the lacquer, and on the basis of the original red, black, vermilion and purple lacquer skills, they newly developed gold and silver, Tianlan, apple, green onion, bronze and other colors, so that the way and means of lacquer expression have been completely changed, and the works made have achieved a gorgeous and brilliant and dazzling effect.

This kind of storage and gray mounting, also known as the "clamping" technique, has been produced as early as the Northern and Southern Dynasties in China, and has been lost for a long time.

After coming back, Shen Shao'an humbly visited the old painter everywhere, studied hard, experimented many times, and finally came up with the idea of using clay to make a blank tire, after drying, and then layer by layer of summer cloth or silk, painted with lacquer, and make a small hole at the bottom, after the paint is dry, water is poured into the small hole, so that the fetal mud gradually dissolves and flows out when it encounters water.

At this time, the inner tube has been removed, but the outer shape of the cloth layer is still undamaged, and then on the gray ground, grinding, lacquer grinding and applying various decorative materials, because in this lacquer process, water injection is born, so Shen Shao'an named his invention "reborn lacquerware".

The tribute bowl is now hidden in the Palace Museum, Wang Yongjian said that after the advent of the reborn lacquerware, it was initially mainly made tea boxes, cigarette boxes, boxes, jewelry boxes, Guanyin Buddha statues and other practical utensils and Buddhist figures, which were very popular with the upper class.

According to reports, the traditional lacquerware is only red and black, Shao'an adds yellow, green, blue, brown colors, and also uses gold and silver foil and other techniques to make the lacquerware dazzling, light and durable.

As a result, "Shen Shao'an's reborn lacquerware" was famous all over the world, and it was passed on as the swan song of handicrafts at that time - >>